Tag Archives: conjunto

Alianzareleases their newest single, Todo De Mi, along with an accompanying video, today.

A danceable cumbia, Todo De Mi is not your standard tune. Most will recognize it as a Spanish version of John Legend’s, All of Me, and Alianza more than does the R&B hit justice with its own style and flavor.

The tune starts with a haunting intro on the bajo sexto and an accompanying slow-roll on the snare drum before taking off into its accordion-heavy cumbia rhythms. Jose Robles’ distinctive vocals and the harmonies help set this tune apart from others, especially the soaring voice on the chorus, a tough cumbia beat and some skillful bajo sexto playing.

Of course, there’s also the hot video that goes with the single.

Alianza was established in 2005 by Jose Robles (Accordion, Vocals); Arturo Robles (Drums); and Jose “Wicho” Escobar (percussionist). Rounding out the band are Michael Davila (Bass); and Oscar Calderon (Bajo Sexto). Over the years, Alianza has gained a following beyond Texas, thanks to two appearances on Sabado Gigante, as well as a 3rd place finish in an Univision Radio/Sabado Gigante battle of the bands.

By 2010, they released their first album, Hasta Una Eternidad. Today, Alianza and their fans celebrate the release of their newest single and its video on VEVO and YouTube, but you can purchase the song on iTunes on March 3. A second single, Cruel, which is a Spanish version of Magic’s Rude, will be released in May.

The album was recorded at Urbana Recording Studios in Houston’s northside. Urbana is the studio and HQ of Tejano and international super group, La Mafia. The first two singles were recorded by Grammy award winning engineer Maria Gaucin, while the remainder of the album was engineered by La Mafia keyboardist/producer, Armando Lichtenberger, Jr., who has recorded top acts, such as Christian Castro, Marc Anthony, Los Palominos, among others.

The early style of Tejano was wildly popular in Houston until the mid 90s.

It was during that time that Tejano went off the radio airwaves in Houston. Artists just couldn’t sell the music, all because of a lack of star power.

Selena’s death left a gaping hole in Tejano music and since then, things have never been the same.

Fans, though, are hardcore and refuse to let it go.

“The music—the musicians—we are still here. It’s the support mechanisms that are not there anymore, but things are changing now,” said Jesse “Jumpin Jess” Rodriguez, a Tejano expert.

The 90s were an awesome time for the genre, no doubt. Corporations like Capitol Records, Sony, and others had taken over La Onda, signing up some of the biggies like Little Joe y La Familia, Mazz, La Mafia, Emilio, Selena, Johnny Hernandez, Laura Canales, David Lee Garza, Ram Herrera, and other showbands. But they went further and gave other smaller-name bands a shot. With it came some new touring opportunities, cash, a lot of distribution, and some marketing that these groups had pretty much done on their own previous to this boon.

Some would argue, though, that perhaps there was a lot of saturation of the market, too. While the biggies had paid their dues, some of the younger bands perhaps were still working on perfecting their talents. Still, after the death of Selena, it seemed the market waned, then the Gringos and “non-Tejano” execs who had squeezed every profitable penny out of the industry declared it dead, thus, big radio stations like Houston’s KQQK went away or changed genres. The big money people weren’t giving Tejano music a shot anymore because it wasn’t profitable for them. The musicians still had a talent to show off, and they still had to make a living. For the fans, the thirst was still there–for the music, for the culture. And as Jumpin’ Jess states, none of these bands left, the tours continued, though, with their own management. The big record companies kept a few big names, but their heart wasn’t in the marketing anymore. Even supergroups like Intocable went indie and managed themselves.

Nowadays, you see the big names like David Lee Garza and Joe Posada running their own independent recording companies. The tried and true Freddie Records, owned by the legendary Freddie Martinez, is still around, too, and with a stellar line-up of bands. No, the music and the culture never died. It’s the cash infusion and big media marketing that died out. I guess that’s what happens when you allow big money interests to basically buy your culture without some stipulation that it preserve it somehow.

Yes, I remember that 90s heyday. I remember well when El Grupo Mazz recorded their live album before 9,000 fans at San Antonio’s Rosedale Park–I was there! But I also remember this past Spring and the 6,000 fans at the Humble Civic Arena. And hell, I also remember the sell-out crowds at Miller Outdoor Theater every year for Festival Chicano. Yes, you still have those small nightclub crowds, and some bands still run risks between charging a percentage of the door or a set fee. But the touring continues. All one has to do is search them on Facebook, how in touch they are with their fans, to know that, while they are trying to make a living, they are still in it for the music and the culture. And to hell with the big money interests! These bands and the fans are owning their music.

No, the genre is not dead. Technological advances in recording, the ability to self-distribute and upload music to iTunes, and a strong surge in online Tejano stations help, too. And Arenas’ report about a home appraiser who wants to make sure the next generation keeps the music and culture going by running a school for Tejano music is just one story of many that is occurring at the moment. Thanks to the Texas Folklife Resources, we have the Big Squeeze Competition for squeezebox playing kids to compete for cash and recording contracts. Thanks to Juan Tejeda and the Tejano-Conjunto Festival in San Antonio, there is an outlet for this music for all ages.

No doubt, there will always be profiteers. If it happens on Wall Street, it will happen in ballrooms and nightclubs, too. But La Onda is very much alive, and given all of these advances, quite savvy, too. Will it be another 90s heyday? Who cares? It is our music, and as long as we retain ownership of our culture, it will continue to live and prosper.

Some may know accordion ace Michael Guerra from his days with Los Texmaniacs, Ruben Ramos, Rick Trevino, the Tex-Mex Experience, or his session appearances with Los Lobos, the Texas Tornados, Los Lonely Boys, or others. His recent work with Raul Malo and, now, The Mavericks, are what caught my attention in recent years. The guy is just plain good, as he’s been playing accordion since his mid-teens. Beyond that, he can play several other instruments, truly making his stage presence known.

Guerra and his band just released their debut and self-titled CD. Guerra has produced a style all his own, yet, one cannot help but notice the various influences, be it conjunto, rock, blues, mariachi, or country. It’s all in this eclectic production which fuses into something better than most attempts at “latin fusion.” This one has a special vibe to it.

Kicking off with Voodoo Lady, one notices the rock influences, with Robert Ybarra’s haunting guitar blending with Guerra’s accordion. One may think Los Lonely Boys, thus making the tune quite Texican, but it’s all Guerra and his band. The country tune, My Love’s Too Big (To Fail) caught my attention with the title (I’m in politics, sue me!). In this tune, one immediately notices Guerra’s San Anto influence.

The Los Lobos’ musical influence pops out with La Prietita Loca, with its cumbia rhythm. Of course, the hook, “La Prietita baila muy suave…pero cuando se junta con las chicas se pone muy loca,” is quite catchy. Dreams Gone Blue has a country-mariachi-trio feel to it with some excellent lyrics–and it sounds like it could have been picked up off the cutting-room floor of a Raul Malo CD and given its own flavor.

Let’s Try seems to have a style all its own with a slow rock groove, and is a good introducer to The Who’s Mama’s Got a Squeezebox. The Who could have used a Michael Guerra back then, who really shows off his technique on this tune, as done Ybarra on the guitar solo. On the next tune, Guerra returns to a country-esque/mariachi style with Break Away. The old-style music with modern lyrics make this a favorite.

Guerra does not forget the music that put him on the map–conjunto. And Que Viva Mi San Antonio provides a nice tune with quite the visual of partying in San Anto. Showing his partiality to trio/mariachi stylings, Guerra belts out the classic La Barca backed up by his acordeon, guitars and requinto, showing off his vocal abilities.

The bluesy-rock tune You Set Me Free shows off Ybarra’s guitar again, while telling the story of being set free by a woman who seems to have made the wrong choice. Ain’t it always the way?

Guerra’s biggest influence and the reason for his music career is his dad Elias. Mike began toiling on various instruments before picking up the instrument that set the path for his career–the acordeon. That said, Mike brings in his dad for the final tune, Dame Un Nuevo Corazon, a gospel song with an acordeon-heavy bolero feel.

It is safe to say that this production is a venture through Guerra’s various influences, yet, it is his signature accordion which sets it apart. This is a great first full production for Guerra. Of course, he’ll have a hard time touring to support it since he’s working hard with The Mavericks at the moment. No doubt, he is going through some career-building experiences.